Identity and Individuality of Derivative Fictions -- continued

If we carefully re-examine the content of the movie Peter Pan from these perspectives, and confirm the reality of the fictional world constructed by the original novel Peter and Wendy, the play Peter Pan and the visual expression of the film, we can see that this movie named Peter Pan rather asserts its unique raison d’etre by taking advantage of subtle deviations from the original story, and it turns out that this is a fictional work that hides a very complex ontological mechanism. If it is a faithful imitation of the original works, references and contrasts to the details of the original work should detract from the enjoyment of viewing the work. However, the film Peter Pan is a work of new appeal in that they can amplify the interest of the film anew by reaffirming the subtle differences from the original work, cleverly deconstructed.
In fact, the real protagonist of this movie is not Peter, but Wendy. Her interactions with Peter Pan and Captain Hook are portrayed as peculiar ones, making sense only in a different kind of fictional perspective centered on a young girl, Wendy Darling. The image of Wendy assuming the figure of Captain Hook at the beginning of the film, pretending to be a pirate and playing with her brothers, is something that was not depicted in the original story. As is evident in this scene, Wendy in this film not only takes on a significant portion of Peter’s active and adventurous tendencies, but also is afforded with a lot of lines that were spoken by other characters in the original novel. This film, which reconstructs the role of narrator and the context of the dialogues by boldly modifying them deftly retaining the charm of the interesting details of the original story, such as excellent dialogues and impressive scenes, is actually a work that builds on the arbitrary dedication of the creator in that it requires a deep understanding of the original story in order to properly understand the correct picture of its exquisite presentation. Sometimes, highbrow fictional works will present as the core of the appreciation of them a critical discussion of the structural framework of themselves. In other words, the film Peter Pan is a peculiar metafiction with a unique element that requires an analytical critique of the fictional work as a condition of viewing in advance.
In the movie Hook, an impossible situation had been established in the work world with the reference to James M. Barrie, the author of Peter and Wendy, and the depiction of “real” Wendy, who is said to have first told the story of the adventure of Peter Pan, and the intervention of Hook, a resident of imaginary world called Neverland, into the real world where they live.
In the movie Finding Neverland, a scene was introduced as a momentary image, in which Mrs. Davies, the model for Mrs. Darling, who had a great influence on the creation of Peter and Wendy, stepped into Neverland which made a fictional structure in the film. The scenes that depict these unnatural situations are the peculiar “fantastic” elements that determines the phase of impossibility of these fictional works.